I always say it takes three weeks to know a character and three months to own it. And I think that's probably true of every theater artist. If you really want to see a performance of the show, wait three months.
There are some projects where you have to just start doing it, and, after a while, the show starts telling you what it wants to be. You put your spirit in and, after a while, something bigger takes over, and it turns out to be much more fun and creative than what it was at the beginning.
Interpretation
What this quote means
The quote emphasizes the importance of beginning a project without a fixed plan, allowing the process to evolve and inspire creativity.
In this quote, Brian Stokes Mitchell suggests that the true essence of a project often emerges organically after its inception. Instead of being constrained by preconceptions, he advocates for a flexible approach where initial efforts are made, and through engagement and passion, the project itself begins to guide its direction, resulting in a more enjoyable and creative outcome than what was initially envisioned.
Themes
In practice
Example use cases
During a team meeting, you might use this quote to encourage your colleagues to embrace flexibility in their project work.
More from Brian Stokes Mitchell
All quotes →That's the magic of art and the magic of theatre: it has the power to transform an audience, an individual, or en masse, to transform them and give them an epiphanal experience that changes their life, opens their hearts and their minds and the way they think.
One of the interesting things an artist does is they keep rediscovering things, whether it's a jazz piece or a role you've done for 3,000 performances or a song you're singing for the 3,000th time. My job is to find that spark that keeps it fresh and alive.
The older I get, I realize, 'Man, I'm a very rare bird,' and that's not because of necessarily my talent or ability; it so much depends on luck and just the grace of the universe.
Similar quotes
We are all creative, but by the time we are three of four years old, someone has knocked the creativity out of us. Some people shut up the kids who start to tell stories. Kids dance in their cribs, but someone will insist they sit still. By the time the creative people are ten or twelve, they want to be like everyone else.
If you feel bored or uncomfortable as you're writing, ask yourself what's bothering you and write about that. Sometimes your creative energy is like water in a kinked hose, and before thoughts can flow on the topic at hand, you have to straighten the hose by attending to whatever is preoccupying you.
I think that in order to struggle you have to be creative. In my life, creativity has been something that has sustained me; it awoke my spiritual struggle.
Everything that happens in my day is a transaction between the external world and my internal world. Everything is raw material. Everything is relevant. Everything is usable. Everything feeds into my creativity. But without proper preparation, I cannot see it, retain it, and use it. Without the time and effort invested in getting ready to create, you can be hit by a thunderbolt and it'll just leave you stunned.
When we are involved in [creativity], we feel that we are living more fully than during the rest of life.
Curiosity about life in all of its aspects, I think, is still the secret of great creative people.